「路徑」的當代想像：法屬新喀里多尼亞創造性文化傳承的實踐

Contemporary Imagination of the “Path”: Practices of Creative Cultural Transmissions in New Caledonia

林皓貞(Hao-Chen Lin)

指導教授 ： 王嵩山

國立臺北藝術大學/文化資源學院學術論文/博物館研究所碩士班/碩士(2016年)

摘要

在大洋洲社會，當代藝術展演、新型文化機構及文化遺產保存，已是追求文化傳承與復興的重要趨勢。本研究關注法屬新喀里多尼亞（New Caledonia）堤堡文化中心（Jean-Marie Tjibaou Cultural Centre）如何挪用博物館技術形成具有島上卡納克族（Kanak）文化特色的實踐，進一步探問：其表現形式涉及卡納克文化中哪些對人、社會、大自然之認識，參展藝術家有何觀點、彼此互動勾勒出何種社會文化的當代想像。作為新型態文化機構，堤堡文化中心在複雜的社會、文化、歷史脈絡中又面臨哪些不同於傳統博物館的挑戰。

本研究結合藝術人類學及博物館研究方法，透過三個月田野觀察與訪談，蒐集新喀里多尼亞社會文化與歷史現況，釐清堤堡中心主事團隊的視角和藝術家的創作期待。研究發現，堤堡文化中心最重要的使命是傳承卡納克文化及尋求社會平衡：其建築、蒐藏與展演體現了卡納克文化及包容性的社會想像，透過傳統儀式與館內活動的結合以及展演合作創造社會連結、建立或重建社群關係，展現卡納克文化重要的「路徑」（社會關係）觀念。最後，堤堡文化中心運用文化傳統與當代藝術的創造力推動文化傳承與自主，呈現深具在地特色的實踐。更因為特殊的社會境況，而須持續在社群、博物館和社會間不斷創造協商並開啟新的對話。

關鍵字

文化中心, 太平洋當代藝術, 文化傳承, 創造力, 新喀里多尼亞

並列摘要

In Oceanic society, contemporary art performances, new modes of cultural institutions and the preserving of cultural heritage have become important trends in pursuit of cultural transmitting and cultural revivals. This research focuses on how the Jean-Marie Tjibaou Cultural Centre appropriates museum technology to produce practices featured indigenous Kanak culture in New Caledonia. The researcher then proposed following questions including how its forms of expression derived from Kanak culture knowledge of mankind, social and natural environment; what contemporary imaginations of society and culture were presented by the participants; and the last: since the Centre is a new model of cultural institutions, what challenges it’s been facing considering the complex social-cultural and historical contexts different from traditional museums.

During three-month in-field observation and interview process, the researcher applied anthropology of art and museum ethnography as the approach to collect and analyze the thoughts of Centre’s manipulators and the intentions and expectations of the artists. The study found that the aim of the Centre is to transmit the Kanak culture as well as to seek social balance. The Centre’s buildings, collections, exhibitions and performances had embodied Kanak culture and an inclusive social imagination. And by combining traditional ceremonies and collaborations of contemporary art projects, the Centre had created and rebuilt social connections with communities, leading to the representation of the core concept of social networks in Kanak culture--“the path”.

The Centre applied “creativity” rooted in cultural tradition and contemporary art as the key impulse in cultural transmissions to create a deep-rooted social practice model. Furthermore, due to its specific social situation, the Centre has to continually open negotiations and new dialogues between communities, the institution, and the society.

並列關鍵字

Cultural Center, Contemporary Pacific Art, Cultural Transmissions, Creativity, New Caledonia

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